e released several tangos of the old style whose acclaim was limited to the time of its premiere, such as “Biaba al otario” and “Anastasio el pollo”. The latter was exhumed in 1958 by Miguel Nijensohn as a well-played instrumental cut for Odeon.

In 1928 he started a diplomatic career which he carried out until 1954. He was also a successful comedy writer with his play “El mamboretá” of 1917 onwards.

He had official positions in the board of SADAIC.

To the above numbers we add: “Arpegios”, “Calcagno (Los rosales)”, “¡Centinela alerta!”, “Don Pipiolo”, “Echale aceite a la manija”, “El farolero”, “El gorrión [b]”, “El pedigüeño”, “El 7 bravo”, “Flor de damasco”, “Flor de fango [b]” (previous to the one with the same title by Augusto Gentile and Pascual Contursi), “Hijas del regimiento”, “Las de Barranco”, “Los invisibles”, “Lucía de Lammermour”, “Mameluco”, “¡Me caiga muerto,ché!”, “No se puede con Muñoz”, “Otello”, “Rigoletto”, “Sonámbula”, “Traviata”, “Trovatore”.

Sources:
1. Antología del Tango Rioplatense, del Instituto de Musicología Carlos
Vega, Buenos Aires 1980, "Desde los comienzos hasta 1920".
2. El libro del tango de Horacio Ferrer. Antonio Tersol Editor. Barcelona, 1980.
3. El tango, el bandoneón y sus intérpretes, Tomo 1. de Oscar Zucchi, Editorial Corregidor, Buenos Aires, 1998.
4. Diccionario Biográfico Ítalo-Argentino, de la Asociación Dante Alighieri.